Chants of India by Released 6 May 1997 Recorded January–August 1996 Studio Sruthilaya Media Artists Studio,;, Oxfordshire, Length 63: 33 chronology (1996) 1996 Chants of India (1997) Chants of India is an album by Indian musician released in 1997 on. Produced by his friend and sometime collaborator, the album consists of and other sacred prayers set to music, marking a departure from Shankar's more familiar work in the field of. The lyrical themes of the recorded chants are peace and harmony among nature and all creatures. Sessions for the album took place in the Indian city of and at Harrison's home in, Oxfordshire, following his work on (1995).,,, and are among the many musicians who contributed to the recording. Chants of India was well received by reviewers; author Peter Lavezzoli describes it as 'a quiet masterpiece' and 'the most fully realized collaboration' by Shankar and Harrison.

Shankar considered it to be among the best works of his 60-year career. In 2010, the album was reissued as part of the box set, which combined various projects undertaken by the two artists, beginning in 1973. Chants of India was the last formal collaboration between Shankar and Harrison, who was diagnosed with cancer shortly after its release. At the in November 2002, Shankar incorporated some of the selections from Chants of India, including the album-closing 'Sarve Shaam', in a set performed by daughter Anoushka as a tribute to Harrison. Contents • • • • • • • • • • • Background and content [ ] Having maintained a close friendship in the decades since their last official collaboration in 1974, and began working together in 1995 on projects to celebrate Shankar's 75th birthday.

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Harrison first produced a four-disc career retrospective issued on 's, (1996), which also included unreleased recordings made by the pair, before serving as editor on Shankar's second autobiography,. When compiling In Celebration, Shankar and Harrison discussed with Angel Records the possibility of making an album of chants and other set to music. According to Shankar, the record company were hoping to repeat the commercial success of a recording by 'those Spanish monks' – an album of featuring a contemporary. Author Simon Leng describes the Chants of India project as a 'back to the roots' exercise for Harrison, after his production of and his own releases such as ' and ' in the 1970s. As far as the words are concerned, they are open now [after 40 years], but the tune I had to give, or add a slight orchestration in the background, was with this very thought that it should match this old sentimental, old spiritual context that it has. At the same time, not be too much, you know?

Or sound very ritualistic or fundamentalist or anything like that. – Ravi Shankar, 1997 Shankar had grown up in the Hindu holy city of, where the public chanting of Vedic hymns '[awakened] his passion for music', author Reginald Massey writes, and as a young man during the 1940s he had embraced the concept of Nada (meaning 'Sound is God'), under the strict tutelage of music. In his liner notes to Chants of India, Shankar nevertheless describes the undertaking as 'one of the most difficult challenges in my life, as a composer and arranger'. Shankar noted the precedents for such a venture: ' chants from the Vedas, and other scriptures have been recorded by many in India and elsewhere, either in its original form by the Traditional Scholars. Or sung within forms by eminent musicians with accompanying instruments. Dpc_dog_violation Ntoskrnl.exe 0x00000133 on this page.

Some have even attempted to make them more popular by using a semi-classical and commercial approach. I wanted to make a version different from all these, but still maintain the tremendous spiritual force, and purity of the, and, and at the same time make it universally appealing.' Shankar consulted a Dr Nandakumara of the in London, regarding the interpretation of the Sanskrit texts. Aside from adapting these ancient texts, Shankar composed new selections for the album – 'Prabhujee', 'Mangalam', 'Svara Mantra' and 'Hari Om' – and, as he put it, 'tuned them in the same spirit'. Peter Lavezzoli, author of The Dawn of Indian Music in the West, writes of the album's themes: 'The record begins with the traditional invocation to, continuing through a series of traditional Hindu prayers and chants from the, Upanishads, and.' Harrison biographer describes the songs' focus, following the opening invocations, as 'peace, love, ecology, and social harmony'.